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The Ford car was thoroughly updated in 1941, in preparation for a time of unpredictability surrounding World War II. The 1941 design would continue in an aborted 1942 model year and would be restarted in 1946 and produced until the more modern 1949 Fords were ready. During the initial year of this car, it evolved considerably. The front fenders came in three pieces, the theory being that small damage could be replaced easily. During the year, it evolved into two pieces with the lower front and back sections being joined. The hood risers changed, the early ones being the same as 1940 Fords, changing during the year to the better later version. The 1941 Convertible had no rear side windows, the only side windows being in the doors; in 1942, quarter windows were added so the rear occupants could see out. Five different coil/distributor arrangements were used during 1941, causing confusion for mechanics. Other variations were: two different positions for the generator, and three for the cooling fan — front of the crankshaft, front of the generator (rare) and on a bracket. This is thought to be the first Ford to offer an oil filter. The two interior heaters were a "Southwind" gasoline burner, which had the advantage of keeping one warm in winter at drive-in movies (provided a small electric fuel pump was used), and a more ordinary hot-water type. Both had window defrosters. It had an excellent radio, which could consume the battery in about two hours. Electric windshield wipers were available in addition to the vacuum-powered wipers. Three different convertible power top mechanisms (vacuum, electric screw, and hydraulic) and two different header bar latching systems were used. Rear suspensions sometimes had a sway bar, most did not. It had excellent brakes for the time, and the best handling of an ordinary car at the time. It was a very transitional car.
Source: Wikipedia
Photo taken in Djurgården at Gärdesloppet, or Prince Bertil Memorial, Stockholm, Sweden.
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Prince Bertil Memorial takes place each year in Stockholm, Sweden, in honour of Prince Bertil, uncle to Sweden's King Carl XVI Gustaf. The Prince was a race-car driver in the 1930s, using the pseudonym "Monsieur Adrian" to placate his disapproving father, later King Gustaf VI Adolf. Prince Bertil continued to act in the monarchy's best interests by forgoing marriage to his British girlfriend, Lilian Craig. Under Swedish law, which has since been changed, such a union with a commoner would have rendered him ineligible to serve as regent, should the need have arisen, to Carl Gustaf, son of Prince Bertil's deceased older brother. The Prince finally married the patient Lilian in 1976, three years after nephew Carl Gustaf was safely on the throne.
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Canal Street, the centre of the Manchester Gay Village, is a street in Manchester city centre in North West England. The pedestrianised street, which runs along the west side of the Rochdale Canal, is lined with gay bars and restaurants. At night time, and in daytime in the warmer months, the street is filled with visitors, often including gay and lesbian tourists from all over the world. The northern end of the street meets Minshull Street and the southern meets Princess Street; part of the street looks across the Rochdale Canal into Sackville Park.
History:
Canal Street developed when the Rochdale Canal was constructed in 1804, a trade artery running through the city. Pubs and other businesses evolved to service the users of the canal, especially the people stopping at the lock nearby.
Not until the 20th century, however, did the area first begin to be properly associated with gay people. By the 1960s, usage of the canal had greatly declined due to competition from other methods of transport. Whilst assuming the form of an industrial area full of cotton factories, by night the area was a red-light district. With the collapse of the cotton industry in Northern England, the area suffered urban decay. The area along the canal was perfect for gay men to meet clandestinely as it was dark and unvisited, but was near to good transport links such as Oxford Road and Piccadilly railway stations.
In the 1980s, James Anderton, Chief Constable of Greater Manchester, accused gays of "swirling in a cesspit of their own making" and, according to Beatrix Campbell, "encouraged his officers to stalk its dank alleys and expose anyone caught in a clinch, while police motorboats with spotlights cruised for gay men around the canal's locks and bridges". James Anderton, when questioned about the policing of the Canal Street area, denied that he was motivated by anti-gay prejudice and was merely enforcing the law on sexual activity in public toilets. Greater Manchester Police under his leadership ran a strict licensing regime for bars and nightclubs in the central Manchester area. Anderton retired in 1991.
The opening of Manto in 1990 was regarded as a catalyst for the development of many of the current style of bars and clubs in the Village. Manto was created when Carol Ainscow, a gay property developer, alongside her business partner Peter Dalton, bought a garage repair building on Canal Street. The building was the first in the area to be clad with large plate glass windows; Ainscow stated, "I felt sick of having to knock on doors and hide". Despite this, Ainscow stated that for the first six months of business, Manto was continually losing money due to people's fear of being seen in there.
Another catalyst for the expansion in the 1990s was its official recognition by Manchester City Council. Following the passing of a number of non-discrimination policies on the grounds of sexuality in the late 1980s, the council was pioneering work in the advancement of lesbian and gay rights (along with a HIV/AIDS unit, sympathetic press and marketing officers like Chris Payne and Tony Cross, an 'Equality Group' which appointed lesbians' and gay men's officers, including Paul Fairweather, Marcus Woolley, Chris Root, Maggie Turner, Terry Waller and Mark Ovenden) and many key departments like Libraries, Children's Services and Housing, much official emphasis was placed on strengthening the community element of the Village. This included major support for the Mardi Gras and purchase of the Sackville Street Gardens in 1990 and becoming the first UK council to support civil partnerships.
The Village has been unified by issues regarding the gay community, such as Section 28 in the run-up to it becoming law in 1988 and subsequently. Ian Wilmott, a gay Labour councillor, said " Section 28 was such a monstrous attack on civil liberties that hundreds of campaigners came together to oppose it. People were feeling besieged. We had no homeland, no part of the city. We needed somewhere ... It had to be more than a club. We willed the village into existence." Additionally, raising awareness over the HIV/AIDS threat to the community have been "integral to bringing the village together", according to John Hamilton, chair of the Village Business Association.
This focus led to several of the pubs on or near Canal Street acquiring a predominantly gay clientele. In 1991 Manto (Manchester Tomorrow) bar opened at no. 46. It was built in 1989 by Benedict Smith Architects. Unlike the other gay bars at that time, Manto had large glass windows, allowing the casual passer-by to view what was going on inside. Previously many establishments catering for the gay community were often keen to conceal activities from the general public, but the architectural design of Manto was seen as a queer visual statement "we're here, we're queer – get used to it". A brick-and-mortar refusal to hide any more, to remain underground and invisible.
Over the next decade, more and larger bars opened along the canal side, turning Canal Street into the centre of the most successful gay village in Europe. Because of this, the Canal Street street signs are regularly defaced to read "Anal Treet" or "Anal Street". The success was further enhanced by the use of Canal Street and its bars in several television series, including Bob and Rose and Queer as Folk, both written by Russell T Davies.
This success led to a number of problems, however. Canal Street's portrayal on several popular television programmes, the opening of a number of chain bars, and the resultant influx of "straight" drinkers led to tension with its existing clientele. Some bars on Canal Street tried to keep straight people out, and questioned customers at the door to test them for their "gayness". A boycott was launched of the new Slug and Lettuce bar by the gay community because of the chain's refusal to support the Gay Pride festival, which eventually led to its closure. The bar was bought out and re-opened as Queer.
By 2006, concerns were being raised about falling revenues in the bars on Canal Street. In a 2013 article in Mancunian Matters, a community based web newspaper and webzine, Amy Lofthouse explored the change within Canal Street: "For more than 20 years Canal Street has been viewed as the centre of the gay community in Manchester… but campaigners want to ensure dangerous stereotypes of it being a 'gay ghetto' are left behind. With clubs, pubs and restaurants, the village has also become the focus of many a night out for students, hen parties and friends on a weekend away. This change however has not been welcomed by everyone on the street. Earlier in the year there was controversy over club door policies and there were fears that Canal Street’s role in the LGBT community was being diluted. Nowhere was the change in the Street shown more starkly than with the closure of Manto in October 2013. Manto was one of the most iconic bars in the area, having been a fixture on the street for 22 years. Manto's re-opened in 2015 under a new name of ON Bar initially struggling it found its feet again in 2016 when the London owners head hunted Tony D Cooper from the successful Via further up Canal St." Lofthouse quotes Amelia Lee of LGBT Youth North West as feeling that Canal Street is over-emphasised as an all-encompassing gay area: "It’s more for hen-do events than for LGBT people. I think it has grown too big and now needs to readjust and diversify to cater for more needs of the LGBT community." This change in the types of clientele attending or moving in and out of the area in recent years is believed to have led to a number of homophobic attacks such as the one on Simon Brass, who was thrown into the canal and left to drown by a gang of muggers in June 2013. His body was not found in until October 2013; the perpetrators have since been jailed for the offence. In February 2015, gay activist Peter Tatchell added his voice to the debate about the changing nature of the area in the Manchester Evening News, saying "It would be very wrong if there were unilateral attempts to change its character. I am all in favour of it evolving but it has to be with the agreement of the LGBTI community. As a society the need for specific gay districts may decline but we are not there yet. It would be a backward step to de-gay Canal Street." [Wikipedia]
Created for the group Digitalmania found here: www.flickr.com/groups/digitalmania/
Entered in the Kreative People group Open Theme contest #9
www.flickr.com/groups/1752359@N21/discuss/72157630595056748/
The idea is to be inspired by the artist's work and put your own spin on it and create your own artwork.
The featured artist this week at Digitalmania is Nicki Newfield and here is a brief description of her work from the Viva Art Center, Valley Institute of Visual Art:
Nicki Newfield has loved painting and everything related to art since she was a child. It wasn’t until her children left for college that she took up painting full time. Her real passion was transparent watercolor and her style was loose yet descriptive. A few years ago, she started to incorporate collage into her work and after a visit to Russia, was so intrigued with the art, especially the icons that her work evolved into mixed media and collage on canvas.
Nicki’s current works are highly textured, combining many layers of paper and metallic paint. “When I start a new canvas, I have no idea where the process will take me. I like to incorporate renaissance images, but sometimes my theme can be eliminated during the course of my layering and can take on a whimsical mood.”
Nicki is actively involved with Women Painters West, Valley Watercolor Society and is currently the President of Collage Artists of America.
All elements in this design are from my stock with the exception of the lady which belongs to Robert Lewis Reid entitled "The Yellow Flower aka The Artist's Wife in the Garden" found in Creative Commons.
Background entitled "Pearls, Lace and Roses - FREE Background" found here:
www.flickr.com/photos/plumnutz/8234712563/
"White Rose With Raindrops - FREE Snippet" found here:
www.flickr.com/photos/plumnutz/8235801278/
"Fancy Hat - FREE Snippet" found here:
The decision to release paid DLC for Early Access title Ark appears to have drawn ire and revenue in equal measure.
E3 2016: Watch all the E3 PC game trailers.
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Argus C44R 1958-62
35mm Argus Cintagon f4.5 lens
ORWO UN54 Film, 100 iso
Developed with Cinestill Film Df96 Monobath Developer
5th roll developed
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20180929AC44R-048
JUST EVOLVE SHOPPING-CALIFORNICATION DRESS
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Source: en.wikipedia.org/wiki/Rapid_City,_South_Dakota
Rapid City is the second most populous city in South Dakota and the county seat of Pennington County. Named after Rapid Creek, where the settlement developed, it is in western South Dakota, on the Black Hills' eastern slope. The population was 74,703 as of the 2020 Census.
Known as the "Gateway to the Black Hills" and the "City of Presidents" because of the life-size bronze president statues downtown, Rapid City is split by a low mountain ridge that divides the city's western and eastern parts. Ellsworth Air Force Base is on the city's outskirts. Camp Rapid, part of the South Dakota Army National Guard, is in the city's western part.
Rapid City is home to such attractions as Art Alley, Dinosaur Park, the City of Presidents walking tour, Chapel in the Hills, Storybook Island, and Main Street Square. The historic "Old West" town of Deadwood is nearby. In the neighboring Black Hills are the tourist attractions of Mount Rushmore, the Crazy Horse Memorial, Custer State Park, Wind Cave National Park, Jewel Cave National Monument, and the museum at the Black Hills Institute of Geological Research. To the city's east is Badlands National Park.
Source: www.visittheusa.com/destination/rapid-city
Where a rugged landscape surrounds charm and culture
While Rapid City is best known for its proximity to national parks and enormous mountain carvings, including Mount Rushmore just 40 kilometers away, visitors to the heart of this Black Hills destination will be enthralled by a plethora of outdoor adventures, a charming and historic downtown and a salute to American Indian heritage in southwestern South Dakota.
The Famous Faces
Make Rapid City your headquarters for short jaunts to six national parks – Badlands National Park, Devils Tower National Monument, Jewel Cave National Monument, Wind Cave National Park, Minuteman Missile Silo National Park and Mount Rushmore National Memorial – as well as Crazy Horse Memorial.
No trip here would be complete without seeing the heads of four U.S. presidents, each about 18 meters tall, carved into granite on the side of Mount Rushmore. Once there, you’ll see why the sculpture, which took 14 years to complete, attracts nearly 3 million people a year. Nearby, work continues in the Black Hills on another mountain carving, this one of the famous Lakota warrior Crazy Horse astride his horse, that will become the world’s largest sculpture upon completion. The memorial serves to preserve the culture of North American Indians.
Find out more about the area at The Journey Museum & Learning Center, which features exhibits tracing some 2.5 billion years of history, from the earliest rock formations to Native American cultures and Western frontier exploration.
Large-Scale Outdoor Adventures
Options are plentiful for people who enjoy outdoor activities like hiking, biking, fishing, kayaking, rock climbing, wildlife viewing and off-the-beaten-path exploration. Traipse through all of those national parks and see a variety of landscapes, including mountains, hills, canyons, valleys, creeks and lakes.
Take in the natural beauty of the Black Hills National Forest and all of its hidden gems, including the Stratobowl clearing that was home base for historic balloon flights. Venture into Custer State Park, where the Wildlife Loop takes visitors through 29 kilometers of hills and grasslands, home to more than 1,300 free-roaming bison. Stop in the Wildlife Station Visitor Center to learn what other types of wildlife you might encounter. Sites along the George S. Mickelson Trail – a Black Hills rail trail route that is about 175 kilometers long – include tunnels, bridges and 15 trail heads.
A City of Culture
In addition to the prominent Native American arts and culture, Rapid City has become known for its culinary, winery and brewery scene as well as history tied to the original settlers. The Sculpture Project: Passage of Wind and Water is a five-year public art initiative with sculptor Masayuki Nagase working during the summer months to carve by hand granite sculptures in Main Street Square. As you tour the city, look for the City of Presidents, life-size bronze statues of 43 former U.S. presidents, including the famous four that are also on Mount Rushmore.
Comfort is key in Rapid City, which features smaller boutique hotels, larger hotel chains, vacation rentals, camping and bed-and-breakfast establishments. Perhaps you will find a place with a history that includes some of the nation’s presidents.
Source: motionunlimitedmuseum.com/about-us/
MOTION UNLIMITED MUSEUM is the heart and soul of Bill and Peggy Napoli. From the time Bill was 9 years old and owned his very first 1940 Ford pickup, his goal was to own and operate a fine automobile museum and build cars’ trucks, and motorcycles. Not just a dingy old bunch of buildings full of dirty old cars, but a beautiful place to showcase the antique and classic cars and motorcycles Bill and Peggy have painstakingly restored themselves since they married in 1969.
From the 1933 Dodge Sedan Delivery that took 8 years to rebuild, to the 1925 Studebaker Motor Home, to the Harley Davidson with Side Car equipped with a TV, all the vehicles in the museum show their touch of detail, and love only true enthusiasts have for their collection.
Bill and Peggy have filled 18,000 square feet of buildings with toys, pedal cars, pedal tractors, gas pumps, signs, pictures, and thousands of other pieces of memorabilia along with the antique and classic cars and motorcycles. Stop and read the stories, lots of history!
Bill and Peggy do all their own restoration and custom work, including body and paint, upholstery, mechanical work, and finish detail. They always have at least 3-5 projects in the process of building.
There are over 100 cars for sale at Motion Unlimited Museum and Classic Car Lot at any one time, and Yes, they will sell vehicles from their collection.
The museum is constantly evolving and changing. So, whenever you come to visit, you will see new and exciting things each time. You’re invited to come to spend your vacation in the Beautiful Black Hills of South Dakota and visit one of the most unique collections anywhere. Who knows, you might also buy the vehicle of your dreams during your visit!
Additional Foreign Language Tags:
(United States) "الولايات المتحدة" "Vereinigte Staaten" "アメリカ" "美国" "미국" "Estados Unidos" "États-Unis"
(South Dakota) "داكوتا الجنوبية" "南达科他州" "Dakota du Sud" "दक्षिण डकोटा" "サウスダコタ" "사우스다코타" "Южная Дакота" "Dakota del Sur"
(Rapid City) "رابيد سيتي" "拉皮德城" "Ville rapide" "रैपिड सिटी" "ラピッドシティ" "래피드시티" "Рапид Сити" "Ciudad rápida"
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Something I haven’t done I don’t think before. This set will take this maxi dress and swap out and add accessories to produce different looks based on the same core layer. I was quite surprised putting this together how versatile a long animal print Primark dress could be
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.